April '22

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G R A PH I C S - PR O.C O M 2 0 2 2 A P R I L G R A P H I C S P R O 3 1 editing process, but the light source is a bit more dicult to control. Shad- ows should be cast in similar directions and highlights and reections should be located on the same sides of objects of both source and destination images. If possible, choose images with similar light sources. A more radical choice is to ip or rotate the source content so that the light source corresponds to the destination image. (Fig. 1) LAYERS Composites are layer-based. Separate content resides on individual layers. Layers ensure that content remains iso- lated and easily selectable. e ability to target and manipulate a component of the image is a critical part of the work- ow. Since layers are exible units, their content can be moved, scaled, rotated, or otherwise transformed and even re- positioned forward or backward within the picture plane. Furthermore, many of Photoshop's features are layer depen- dent — the workow being non-linear and dynamic. Heads up: In the May is- sue of GRAPHICS PRO, DigitalEye will thoroughly examine the power of layers. COLLAGE A composite is created with images from multiple sources. Another word for a composite is a collage. Artists have been making collages since the mid-19 th century. Back in the day, col- lages were made from cutout pieces of paper pasted together to form an image. (Fig. 2) Nowadays, the digital collage workow is faster and more versatile providing a vast array of extraordinary features that enhance the credibility of the composite. Fig. 2: Back in the day, collages were made from cutout pieces of paper pasted together to form an image. This image is from a surrealist novel called Une Semaine de Bonte by Max Ernst (1934).

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